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Mary Berry

(pl. flores) (Lat.: ‘flower’; Fr. fleuretis)

A species of vocal embellishment. Jerome of Moravia (late 13th century) gave this definition: ‘est autem flos armonicus decora vocis sive soni celerrima procellarisque vibratio’ – an ‘ornamental vibration of the voice, or a very rapid rippling of the sound’ – that is, a shake. He described three types of ‘flowers’: long, open and sudden. ‘Long flowers’ resemble a slow vibrato, taking the note a semitone above the note to be graced. ‘Open flowers’ are slow, taking the tone below. ‘Sudden flowers’ begin slowly and gradually gather speed, using the interval of a semitone. Describing these ornaments in connection with plainchant, the author warned against applying them indiscriminately. Five notes are singled out for embellishment: the first, last and penultimate notes to be graced with long flowers, the second note of the first syllable with open flowers, and the long plica with sudden flowers. Singers may insert several short notes between this ornamental plica and the next note ‘to make the melody more elegant’....


Greer Garden

(Fr.: ‘carrying of the voice’)

In Baroque vocal and instrumental music, an appoggiatura, particularly one that resolves upwards by a tone or semitone. Deriving from late 16th-century Italian improvisatory practice – Bovicelli's Regole, passaggi di musica, madrigali et motetti passeggiati (1594/R) contains written-out examples – it became one of the most important graces of French Baroque music. In France it was rarely printed before the late 17th century, but was left to the performer to add extempore. Bacilly explained in his Remarques curieuses sur l'art de bien chanter (1668/R, 4/1681; Eng. trans., 1968) that the accessory note anticipated the beat and took value from the preceding note. Perfection, he continued, lay in its also taking ‘some of the value’ of the note of resolution, as this enabled one to linger on the accessory note.

In his Méthode claire, certaine et facile pour apprendre à chanter la musique (...